Piece from 1955. A photographer is invited to the Vatican to take the official portrait of the Pope. He is received by the character of the Continuum, a relentless watcher of the institution's precepts. During his stay, the photographer realizes the fragility of his mêtier, when confronting the Cardinal, a perverse character that sublimates the issues of superficiality in “appearing to be” more important than “being truly”. Finally, he is faced with the Pope and the cynicism that surrounds him: that of the construction of an image. The image that appears as static and definitive, nullifying the capacity for life and change that exists in each one of us. Genet, known by many for his provocative style and absurd dramatic form, here addresses the perversion of the manipulation of the masses through the image, putting on the table serious questions about the theme of identity.